‘Prince And The Showgirl’ May Be A Hidden Marilyn Monroe Classic

When you walk through the aisles of a video superstore, you’re likely to encounter a number of films that you’ve long heard of but never seen.

Forget the rows of new releases, which mostly are just six months from their theatrical runs.

I’m talking about the films that, in some cases, are several decades old. When you stand among those selections, it’s easy to feel overwhelmed.

So many movies, so little time.

On Sunday, I took a little time.

It started on Saturday. Channel-surfing (as is the custom, apparently, with my gender) on my television, I chanced upon the American Movie Classics showing of the 1957 movie, “The Prince and the Showgirl.”

Now, I’ve seen most of Marilyn Monroe’s major movies, from the early ones (“All About Eve,” “Asphalt Jungle”) to her later comedies (“The Seven Year Itch,” “Some Like it Hot”). And I thought I had a good take on her abilities.

But I wasn’t prepared for “The Prince and the Showgirl,” which pairs Monroe with director (and star) Laurence Olivier, a seeming mismatch if ever there was one.

Few 1957 viewers knew what to make of the film, either. New York Times critic Bosley Crowther wrote, “The main problem with ‘The Prince and the Showgirl’… was that both characters were essentially dull.”

Pauline Kael, noting that the film flopped at the box office, theorized that Monroe fans “didn’t want the nervous, soulful Monroe - never so dim as when she was being ‘luminous’; they wanted her to be a mock-dumb snuggly blonde and to have some snap.”

Well, “The Prince and the Showgirl” certainly is no great film. It’s slow, way too reverential (as Olivier tended to be) to the British crown and, ultimately, little more than entertainment.

But to call the character portrayed by director-star Olivier and co-star Monroe “essentially dull” seems wrong-headed. He is the officious royal leader of a militaristic Balkan country and she is an American showgirl who, invited to a late “supper,” ends up becoming an important cog in the healing process of the royal personage’s family.

Monroe’s temperamental behavior, fueled by alcohol and prescription drugs, reportedly caused problems on the set - and in her marriage with playwright Arthur Miller (a genuine mismatch). Yet she played her part superbly.

Olivier, grim-faced and pompous, is nevertheless capable of great feeling. Monroe, always best in light comedy, makes Elsie Marina a joy to watch. Equally simple, innocent, guileless and alluring, Monroe - for all her problems off the set - owned the camera on it.

I consider “The Prince and the Showgirl” a hidden classic. Which is why I went to my favorite superstore on Sunday, rented a copy and watched it again.

Folks, treasure abounds on those shelves. You just have to look for it.

Virtuosity **-1/2

Denzel Washington adds his Oscar status to this sci-fi effort by portraying a cop who, imprisoned for a revenge killing, is let out to capture a rogue computer-program-turned-real-life-killer (Russel Crowe). It has all the requisite special effects, and Washington is OK. But other than the fantastic notion concerning computers, which makes even “The Net” look believable, the film as a whole offers little new. Rated R.

Beyond Rangoon **

A director who often works with his heart, John Boorman doesn’t always use his head. A case in point is this well-meaning movie about an American’s experience during the political troubles in Burma. “Based on true events” means, in this case, a fictional story of how we’d like life to be instead of how it actually is. Despite great cinematography, location shots and the offbeat acting of Patricia Arquette, much of the film feels like emotional manipulation instead of intelligent commentary. Rated R.

Dangerous Minds **

A new teacher takes over a difficult class of high schoolers, stumbles early but struggles on and, despite losing one or two students along the way, eventually wins them over and ends up exulting in their new attitude on life. What is this, “Blackboard Jungle”? Other than a few new performers, and one or two moments of decent acting by Michelle Pfeiffer as a Marine-turned-teacher, there’s not one frame of this film (based on the book, “My Posse Don’t Do Homework”) that matches the stark power of the opening black-and-white credits sequence. Rated R.

, DataTimes MEMO: This sidebar appeared with the story: What’s new to view Now available - “Dangerous Minds” (Buena Vista), “The Amazing Panda Adventure” (Warner), “Beyond Rangoon” (Columbia TriStar), “Virtuosity” (Paramount). Available Tuesday - “Copycat” (Warner), “Hackers” (TBA), “The Stars Fell on Henrietta” (TBA), “Mute Witness” (TBA), “To Wong Foo, Thanks for Everything, Julie Newmar” (MCA/Universal).